DOCSLIB.ORG

Zeitgenössische Kunst 30. November 2018 Sigmar Polke

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Zeitgenössische Kunst 30. November 2018 Sigmar Polke Zeitgenössische Kunst 30. November 2018 Sigmar Polke. Los 815 Joseph Beuys. Los 807 Niki de Saint Phalle. Detail. Los 811 Gerhard Richter. Detail. Los 820 Zeitgenössische Kunst 30. November 2018, 18 Uhr Contemporary Art 30 November 2018, 6 p.m. Experten Specialists Vorbesichtigung der Werke Sale Preview Ausgewählte Werke Dortmund 29. bis 31. Oktober 2018 Galerie Utermann Silberstraße 22 44137 Dortmund Hamburg 2. November 2018 Galerie Commeter Bergstraße 11 Florian Illies Lena Winter Anne Ganteführer-Trier 20095 Hamburg +49 30 885 915 4493 +49 30 885 915 20 +49 170 5757 464 Zürich [email protected] [email protected] anne.gantefü[email protected] 6. bis 8. November 2018 Grisebach Bahnhofstrasse 14 8001 Zürich München 13. und 14. November 2018 Grisebach Türkenstraße 104 80799 München Düsseldorf 16. und 17. November 2018 Grisebach Bilker Straße 4–6 40213 Düsseldorf Jesco von Puttkamer Michael Neff Elena Sánchez y Lorbach +49 89 2276 33 +49 30 885 915 90 +49 30 885 915 95 Sämtliche Werke [email protected] [email protected] [email protected] Berlin 23. bis 28. November 2018 Grisebach Fasanenstraße 25 und 27 10719 Berlin Freitag bis Dienstag 10 bis 18 Uhr Mittwoch 10 bis 15 Uhr Dr. Anna Ballestrem Zustandsberichte +49 30 885 915 4490 Condition reports [email protected] [email protected] Grisebach — Herbst 2018 800 Josef Albers Bottrop 1888 – 1976 New Haven „Homage to the Square“. 1970 10 Farbserigrafien, jeweils auf Velin, in originaler Mappe. Jeweils 35 × 35 cm (55 × 55 cm) (13 ¾ × 13 ¾ in. (21 ⅝ × 21 ⅝ in.)). Jeweils betitelt, nummeriert, monogrammiert und datiert. Werk verzeichnis: Danilowitz 203.1 bis 203.10. Jeweils einer von 125 nummerierten Abzügen. Josef Keller Verlag, Starnberg. [3528] Provenienz Privatsammlung, Berlin EUR 30.000–40.000 USD 34,500–46,000 Grisebach — Herbst 2018 N 801 Imi Knoebel Dessau 1940 – lebt in Düsseldorf Nua Missa. 1999 Acryl auf Aluminium. 130 × 99 × 3 cm (51 ⅛ × 39 × 1 ⅛ in.). Rückseitig mit Acrylfarbe signiert und datiert: imi 99. [3534] Provenienz Privatsammlung, Schweiz EUR 50.000–70.000 USD 57,500–80,500 Wir danken Carmen Knoebel, Düsseldorf, für freundliche Hinweise. „Ich will auf nichts als auf die Farbe kommen […]. Ich trage die Farbe auf, setze sie ein und versuche auf diese Weise eine Farbe zu gewinnen. Ich bringe die Farbe in die verschiedensten Zusammen- hänge. Das hält es offen. Es gibt keine Farbe, mit der ich nicht arbeite. Somit gibt es dahinter kein System. Auf diesem Weg liegen dann die wunderschönsten Bilder, die ich nie gemeint habe.“ Zitiert nach: Dirk Luckow: O, mein Schatz, in Kat. Imi Knoebel, Galerie Fahnemann, Berlin, S. 105 Imi Knoebels Studio, 1999 Grisebach — Herbst 2018 802 Günter Fruhtrunk 1923 – München – 1982 INEINANDERWIRKUNG VON VIER RÄUMEN . 1971 Acryl und Kasein auf Leinwand auf Hartfaserplatte. 62,5 × 61,2 cm (24 ⅝ × 24 ⅛ in.). Rückseitig mit Acrylfarbe in Dunkelblau betitelt, datiert, signiert, bezeichnet und monogrammiert: INEINANDER­ WIRKUNG VON VIER RÄUMEN 1971 FRUHTRUNK 62,5 × 61,2, FRK. Werkverzeichnis: Reiter 649. [3140] Im Künstlerrahmen. Provenienz Privatsammlung Bayern (1971 in der Galerie Otto Stangl erworben) EUR 50.000–70.000 USD 57,500–80,500 Ausstellung Günter Fruhtunk. München, Moderne Galerie Otto Stangl, 1971 / Günter Fruhtunk: Agitation. Berlin, Grisebach, 2017, Kat. Nr. 6, o. S. Literatur und Abbildung Alexander Schimmelbusch: Big Window. In: Grisebach. Das Journal. Heft 8. Berlin, 2018, S. 33 m. Abb. Das Gemälde im Atelier Günther Fruhtrunks in der Akademie der Bildenden Künste in München. Foto: Patrick Bienert Grisebach — Herbst 2018 803 Ulrich Erben Düsseldorf 1940 – lebt in Düsseldorf Farben der Erinnerung. 1993/94 Acryl auf Leinwand. 150 × 190 cm (59 × 74 ¾ in.). Auf dem Überspann mit Bleistift signiert und datiert: Erben 1993/94. Auf der Rückpappe ein Etikett der Galerie Mueller Roth, Stuttgart. [3021] Gerahmt. Provenienz Privatsammlung, Rheinland (1995 in der Galerie Mueller Roth, Stuttgart, erworben) EUR 12.000–15.000 USD 13,800–17,200 Grisebach — Herbst 2018 R 804 Raimer Jochims 805 Marcia Hafif Kiel 1935 – lebt in Frankfurt a.M. Pomona, Kalifornien 1929 – 2018 Laguna Beach, Kalifornien „einander“. 1967/68 „SEENELKEN“. 1990 Dispersion auf Hartfaser. 30,2 × 49 cm (11 ⅞ × 19 ¼ in.). Öl auf Leinwand. 120,5 × 140 cm (47 ½ × 55 ⅛ in.). Unten rechts und oben links auf der Künstlerleiste Auf dem Überspann mit Bleistift betitelt, signiert und mit Bleistift signiert: raimer jochims. Rückseitig datiert: SEENELKEN MARCIA HAFIF 1990. [3508] mit Bleistift bezeichnet, betitelt und datiert: 68/6 Gerahmt. “einander” raimer jochims 67/68. [3522] Provenienz Mit Künstlerleiste. Privatsammlung, Nordrhein­Westfalen EUR 3.000–4.000 EUR 10.000–15.000 USD 3,450–4,600 USD 11,500–17,200 Grisebach — Herbst 2018 806 Anselm Kiefer lich, nämlich auf Tonscherben überlieferten Großepen der Donaueschingen 1945 – lebt in Paris Weltliteratur. Kiefer liefert keine lineare Nacherzählung, sondern konzentriert sich scheinbar auf eine isolierte Passage: Gilgamesch begibt sich zusammen mit seinem „Gilgamesch“. 1981/85 Freund Enkidu unter anderem in die Zedernwälder des Liba­ Geschmolzenes Blei, Acryl und Schellack auf nons, wo sie auf den Walddämon Chumbaba treffen. Die Fotocollage. 111 × 57,5 cm (43 ¾ × 22 ⅝ in.). Erschließung der Zedernwälder gehörte zu den traditionel­ [3028] Gerahmt. len Leistungen eines mesopotamischen Herrschers, der Provenienz dabei stets auch das wertvolle Bauholz für die Tempel und Privatsammlung, Bayern Paläste in Babylon schlagen ließ. Gemeinsam gelang es Gil­ gamesch und Enkidu, den gefährlichen Dämon zu töten, EUR 70.000–90.000 jedoch beschwören sie damit den Zorn der Götter herauf, USD 80,500–103,400 die beschließen, das Enkidu dafür sterben muss. Konfron­ tiert mit dem Tod seines Freundes sinniert Gilgamesch über Ausstellung die Sterblichkeit des Menschen und beginnt, nach dem Anselm Kiefer. Köln, Galerie Paul Maenz, Geheimnis des ewigen Lebens zu suchen. Nachdem er das 1986, Kat. Nr. 7, Abb. o. S. „Kraut des Lebens“ gefunden hat und anschließend wieder verliert, resigniert Gilgamesch und kommt zur Erkenntnis, dass nur eine titanische Leistung – also ein Werk – des Men­ schen bleiben kann, der Mensch selbst aber nicht. In diesem Sinne lässt Kiefer in Gilgamesch auch for­ mal Gegensätze und Widersprüche auf unterschiedlichen „Um den Zedernwald heil zu erhalten, Ebenen aufeinandertreffen. Der Ausgangspunkt dieses und um zum Schrecken der Menschen bestimmte ihn Enlil. Werks sind zwei Fotografien eines Waldstücks, denen der Chumbabas Gebrüll ist eine Sturmflut, Künstler peu à peu Materialien und Substanzen hinzufügt. sein Mund ist Feuer, sein Atem Tod. Dieses Arbeiten in Schichten – in unserem Fall verdeutlich Er kann auf 60 Meilen die Geräusche des Waldes hören, durch die Spritzer des verlaufenden Schellacks und die wer könnte da (unbemerkt) in seinen Wald eindringen? Bleiapplikation – bezeichnet Kiefer als eine „umgekehrte Um den Zedernwald heil zu erhalten, Archäologie“, die ihn von großer Ungenauigkeit zu größt­ und um zum Schrecken der Menschen bestimmte ihn Enlil. möglicher Deutlichkeit führen kann. Während die Fotografie Und wer in seinen Wald kommt, den packt die Lähmung.“ für den Künstler eine Realität darstellt, die vor allem von seinem Fühlen überlagert ist, ist das Malen hingegen ein Weg zur Erkenntnis, und dieses Erkennen führt ihn wiederum zum Malen. Wie auch andere Werke dieser Serie birgt Gilga- mesch – in einer weiteren Schicht – eine Bleiwolke, die die himmlische mit der irdischen Sphäre zu verbinden scheint. Diese Bleiform entstand experimentell auf der glatten Anselm Kiefer macht immer wieder die Möglichkeiten des Oberfläche der Fotografien. Kiefer war von dem Material Menschen zum Thema seiner Kunst. Dafür taucht er in nicht nur aufgrund seiner Formbarkeit fasziniert, Blei – das immer tiefere Schichten unseres kulturellen Gedächtnisses, Grundelement der Alchemisten und der Stoff der Melan­ um dort in verschiedensten Mythen zu den Ursprüngen choliker – war für den Künstler immer auch ein Ideengeber unseres Daseins vorzudringen. Mitte der 1980er­Jahre mit Symbolkraft. Die Ambivalenz dieser Substanz wird hier fertigte der Künstler für eine Ausstellung in der Galerie Paul auch durch ihren paradoxen Einsatz unterstrichen: Kiefer Maenz eine Reihe von außergewöhnlichen Collagen an, in nutzt das an sich träge Blei, um etwas Leichtes und Ephe­ denen er auf manipulierte Schwarz­Weiß­Fotografien von meres, die Idee einer Bewegung oder das Strahlen von Licht verlassenen, scheinbar nachgeschichtlichen Landschaften zu zeigen. Somit stoßen Leichtigkeit und Vergänglichkeit der zurückgriff. Diese Landschaften unterscheiden sich kaum; Fotografie auf die Haltbarkeit und Schwere eines Metalls, erst ihre Betitelung und die Metaphern bewirken eine Indivi­ das an sich den Eindruck gespeicherter Dauer vermittelt. dualität und Deutbarkeit der einzelnen Bilder. In diesen Indem Kiefer hier also nicht nur materiell, sondern Werken verzichtete Kiefer erstmals auf die typisch hohe auch geistig eine Verbindung zwischen unterschiedlichen Horizontlinie, um stattdessen durch die direkte Gegenüber­ Sphären und Zeiten (wieder­)herstellt, handelt er im stellung von unten und oben, Erde und Himmel und deren Bewusstsein der ältesten und höchsten Aufgabe der Kunst. mythische Energiepotenziale zu den Protagonisten dieser Als Vermittler zwischen Geschichte und Mythos wirkt er Werkreihe zu machen. sinngebend für die Geschichte, denn „ohne Mythos wird Gilgamesch, 1981/85, verweist
Load more

Recommended publications
  • Paul &Bevansky Had an Efibiition Called Inn the Dark a Xdeo
    Bruce Nanman will receive the third annual Werner Prize in Columbus, Ohio in May. The $50,000 prize honors an Paul &Bevansky had an efibiition called Inn the Dark A artist who is "consistently original, influential and chdleng- Xdeo BnshiP11aQion in Four Scenes, spread over the four hg to convention." Nauman was preceded by Peter Brook, weeks from 15 February through 15 March 1994 at the theater director, and John Cage, composer and his coi- Sculpture Center, New York City. laborator, the choreogapher, Merce Cunningbarn. Donald dudd, famed minimalist sculptor, died in David Buchan died on 5 January 1994. The whole artists' February at the age of 55. book comuIEityworBdwidehas lost a friend, a colleague and I5etrh-o &BPnscfni, modernist architect famed for the Pan a peerless worker, one who promoted passionately the alter- Am BuHdmg in New York and the Bank of America bugding native media of artists including bookworks, performance, in San Francisco, died in February at the age of 94. video, audio, and multiples, especially when he was working Kathesim Kolta, renowned writer on art and former at Art Metropole from 1975 - 1985. His own assumption of curator at the Art Institute of Chicago, died inJanuary at the various personae such as Lamonte del Monte whose sense age of 89. of style and costume were beyond comparison. David was a Ida Applebroa~ghas created 50 new orighd drawings for true friend of the editor and publisher of this newsletter-- the 150th anniversary of the first pubEcation of Charles someone who helped in times of need, whose generosity was Dickens' A Christmas Carol, published by Arion Press in always there when you needed information, support, San Francisco.
    [Show full text]
  • Untitled (Forever), 2017
    PUBLISHERS DISTRIBUTED BY D.A.P. SP21 CATALOG CAPTIONS PAGE 6: Georgia O’Keeffe, Series I—No. 3, 1918. Oil on Actes Sud | Archive of Modern Conflict | Arquine | Art / Books | Art Gallery of York board, 20 × 16”. Milwaukee Art Museum. Gift of Jane University | Art Insights | Art Issues Press | Artspace Books | Aspen Art Museum | Atelier Bradley Pettit Foundation and the Georgia O’Keeffe Foundation. PAGE 7: Georgia O’Keeffe, Black Mesa Éditions | Atlas Press | August Editions | Badlands Unlimited | Berkeley Art Museum | Landscape, New Mexico / Out Back of Marie’s II, 1930. Oil on canvas. 24.5 x 36”. Georgia O’Keeffe Museum, Gift Blank Forms | Bokförlaget Stolpe | Bywater Bros. Editions | Cabinet | Cahiers d’Art of the Burnett Foundation. PAGE 8: (Upper) Emil Bisttram, | Canada | Candela Books | Carnegie Museum Of Art | Carpenter Center | Center For Creative Forces, 1936. Oil on canvas, 36 x 27”. Private collection, Courtesy Aaron Payne Fine Art, Santa Fe. Art, Design and Visual Culture, UMBC | Chris Boot | Circle Books | Contemporary Art (Lower) Raymond Jonson, Casein Tempera No. 1, 1939. Casein on canvas, 22 x 35”. Albuquerque Museum, gift Museum, Houston | Contemporary Art Museum, St Louis | Cooper-Hewitt | Corraini of Rose Silva and Evelyn Gutierrez. PAGE 9: (Upper) The Editions | DABA Press | Damiani | Dancing Foxes Press | Deitch Projects Archive | Sun, c. 1955. Oil on board, 6.2 × 5.5”. Private collection. © Estate of Leonora Carrington. PAGE 10: (Upper left) DelMonico Books | Design Museum | Deste Foundation for Contemporary Art | Dia Hayao Miyazaki, [Woman] imageboard, Nausicaä of the Valley of the Wind (1984). © Studio Ghibli. (Upper right) Center For The Arts | Dis Voir, Editions | Drawing Center | Dumont | Dung Beetle | Hayao Miyazaki, [Castle in the Sky] imageboard, Castle Dust to Digital | Eakins Press | Ediciones Poligrafa | Edition Patrick Frey | Editions in the Sky (1986).
    [Show full text]
  • Specific Object / David Platzker Presents December 4 – 18, 2009 / January 4 – 29, 2010
    specific object / david platzker presents 69 December 4 – 18, 2009 / January 4 – 29, 2010 1. * Artist Poster Committee of the Art Workers Coalition Q. And babies? / A. And babies., 1969 Four-color offset lithograph 63 x 96.5 cm. $1,500 2. * K.G. Pontus Hultén The Machine as Seen at the End of the Mechanical Age, 1968 Exhibition catalogue Published by The Museum of Modern Art, New York Exhibition catalogue published in conjunction with the show at the Museum of Modern Art, New York, November 25, 1968 - February 9, 1969. Traveled to University of St. Thomas, Houston, March 25 - May 18, 1969 and San Francisco Museum of Art, San Francisco June 23 - August 24, 1969. Text by K.G. Pontus Hultén, curator. As Hultén describes the show, it is a "collection of comments on technology by artists of the Western world," particularly in the modern age when "the mechanical machine -- which can most easily be defined as an imitation of our muscles -- is losing its dominating position among the tools of mankind; while electronic and chemical devices -- which imitate the processes of the brain and the nervous system -- are becoming increasingly important." Includes works by Leonardo da Vinci, Albrecht Dürer (School of), Giovanni Battista Bracelli, Ennemond Alexandre Petitot, Jacques Vaucanson, Pierre Jacquet-Droz, Kristofer Polhem, Filippo Morghen, Nicolas-Joseph Cugnot, Robert Seymour, W. Read, George Cruikshank, W. L. Walton, Winslow Homer, James Boydell, Simon Ritter van Stampfer, Etienne-Jules Marey, Lumière Brothers, Eadweard Muybridge, Théodore Maurisset,
    [Show full text]
  • The Avant Garde Festivals. and Now, Shea Stadium
    by Stockhausen for American performance. Moorman's reac- Judson Hall on 57th Street and included jazz, electronic and even the auspicious begin- nonsonic work, as well as more traditional compositions . The idea tion, "What's a Nam June Paik?", marked the with ning of a partnership that has lasted for over ten years .) The various that music, as a performance art, had promising connections much mediums in were more distinct than is usual in an other art forms ran through the series, as it did through Originale intermedia work (Stockhausen tends to be rather Wagnerian in his the music itself . The inclusion of works by George Brecht, of thinking), but the performance strove for a homogeneous realiza- Sylvano Bussotti, Takehisa Kosugi, Joseph Beuys, Giuseppe . Chiari, Ben Vautier and other "gestural composers" gives some tion dated The 1965 festival was to be the last at Judson Hall . It, too, idea of the heterogeneity of its scope . Cage's works (which early '50s), featured Happenings, including a performance of Cage's open- back to his years at Black Mountain College in the ended Piece. Allan Kaprow's Push Pull turned so ram- along with provocative antecedents by the Futurists, Dadaists and Theater people scavenging in the streets for material to Surrealists, had spawned a generation here, in Europe and in Japan bunctious (with the ruckus) that Judson Hall would have no more. concerned with the possibilities of working between the traditional incorporate into Moorman was not upset; she had been planning a move anyway . categories of the arts-creating not a combination of mediums, The expansive nature of "post-musical" work demanded larger as in a Wagnerian Gesamtkunstwerk where the various arts team spaces-and spaces not isolated from everyday life.
    [Show full text]
  • Yayoi Kusama: Biography and Cultural Confrontation, 1945–1969
    City University of New York (CUNY) CUNY Academic Works Dissertations, Theses, and Capstone Projects CUNY Graduate Center 2012 Yayoi Kusama: Biography and Cultural Confrontation, 1945–1969 Midori Yamamura The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/4328 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] YAYOI KUSAMA: BIOGRAPHY AND CULTURAL CONFRONTATION, 1945-1969 by MIDORI YAMAMURA A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2012 ©2012 MIDORI YAMAMURA All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Anna C. Chave Date Chair of Examining Committee Kevin Murphy Date Executive Officer Mona Hadler Claire Bishop Julie Nelson Davis Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract YAYOI KUSAMA: BIOGRAPHY AND CULTURAL CONFRONTATION, 1945-1969 by Midori Yamamura Adviser: Professor Anna C. Chave Yayoi Kusama (b.1929) was among the first Japanese artists to rise to international prominence after World War II. She emerged when wartime modern nation-state formations and national identity in the former Axis Alliance countries quickly lost ground to U.S.-led Allied control, enforcing a U.S.-centered model of democracy and capitalism.
    [Show full text]
  • Museumviews ?????????MYSTERY IN
    museu mVIEWS A quarterly newsletter for small and mid-sized art museums Spring 2010 ?????????MYSTERY IN AR T A MAN AND A MYSTERY: the 14th century that culminated in the works of Michelangelo. The second edition (the one which GIORGIO VASARI has been most often translated) added biographies of contemporary living artists and his autobiography. The Man In this, his most famous work, Vasari wrote in a Architect, painter, and author of the most style that was anecdotal and engaging. Missing facts famous, and probably the most engaging collection were easily replaced through his flair for the “story.” of biographies of artists, Giorgio Vasari began life in And his bias toward Tuscan art is clearly evident 1511 in Arezzo, Italy. When he traveled to Florence when ultimate perfection in art, as expressed in the as a young man, he studied in the workshop of final pages of the first edition, is embodied in the Andrea del Sarto, with other pupils such as Rosso Tuscan Michelangelo (his is the only biography of a and Pontormo. And it was in Florence, where he living artist). was befriended by the Medici family, that he Vasari died in Florence in 1574, six years after became an enthusiast, in fact an idolater, of the publication of the second edition of Lives. Michelangelo, whose work he attempted to emulate. He soon was spending a busy and productive life The Mystery between Florence, Rome, and Arezzo painting unin - [As described by Konstantin Akinsha in spired frescoes and portraits in palaces and church - ArtNews magazine] es. (Frescoes by Vasari survive in the Sala Regia and the Cancelleria—the so-called 100 days fresco—of In October of 2009, the mayor of Arezzo was the Vatican, and in the Palazzo Vecchio in Florence.
    [Show full text]
  • Jean-Noel Archive.Qxp.Qxp
    THE JEAN-NOËL HERLIN ARCHIVE PROJECT Jean-Noël Herlin New York City 2005 Table of Contents Introduction i Individual artists and performers, collaborators, and groups 1 Individual artists and performers, collaborators, and groups. Selections A-D 77 Group events and clippings by title 109 Group events without title / Organizations 129 Periodicals 149 Introduction In the context of my activity as an antiquarian bookseller I began in 1973 to acquire exhibition invitations/announcements and poster/mailers on painting, sculpture, drawing and prints, performance, and video. I was motivated by the quasi-neglect in which these ephemeral primary sources in art history were held by American commercial channels, and the project to create a database towards the bibliographic recording of largely ignored material. Documentary value and thinness were my only criteria of inclusion. Sources of material were random. Material was acquired as funds could be diverted from my bookshop. With the rapid increase in number and diversity of sources, my initial concept evolved from a documentary to a study archive project on international visual and performing arts, reflecting the appearance of new media and art making/producing practices, globalization, the blurring of lines between high and low, and the challenges to originality and quality as authoritative criteria of classification and appreciation. In addition to painting, sculpture, drawing and prints, performance and video, the Jean-Noël Herlin Archive Project includes material on architecture, design, caricature, comics, animation, mail art, music, dance, theater, photography, film, textiles and the arts of fire. It also contains material on galleries, collectors, museums, foundations, alternative spaces, and clubs.
    [Show full text]
  • A Wolf Vostell, Su Viejo Amigo
    BORIS LURIE MUSEO VOSTELL MALPARTIDA MAYO - JULIO 2014 BORIS LURIE ART FOUNDATION NEW YORK CITY, NY 10023 USA CONSORCIO MUSEO VOSTELL MALPARTIDA Consejeria de Educación y Cultura, Gobierno de Extremadura Diputación de Cáceres Ayuntamiento de Malpartida de Cáceres Me llena de gran orgullo que se exhiba a Boris Lurie en España, en el Museo Vostell Malpartida, un museo que Boris admiraba profundamente, tal como admiraba profundamente a Wolf Vostell, su viejo amigo. Boris tenía el mayor respeto hacia las obras y las ideas de Wolf, desde su primer encuentro en Nueva York en los años sesenta, cuando empezaron a exponer juntos en algunas de las exposiciones vanguardistas más importantes del mundo del arte de entonces. Siguieron unidos en el espíritu y en su excelente arte hasta la muerte de Wolf en 1998. Esta exposición honra su vínculo. Quisiera darle las gracias a Mercedes Guardado Olivenza Vostell, el Consorcio Museo Vostell Malpartida, y a todos los que han hecho esta exposición histórica posible. It is with great pride that Boris Lurie is being exhibited in Spain, in the Museo Vostell Malpartida, a museum that Boris deeply admired, as he deeply admired Wolf Vostell, his long time friend. Boris had only the greatest respect for Wolf ’s works and ideas, from their first meeting in New York in the early sixties, when they began to exhibit together in some of the most important avant-garde shows of the art world of its day. They remained united in spirit, and in their remarkable art, until Wolf ’s passing in 1998. This show honors their bond.
    [Show full text]
  • Jon Hendricks
    Jon Hendricks came to Judson as a conscientious objector from Vermont in 1965. The Vietnam War was heating up, so I applied for CO sta- tus with my local board. I thought I would like to work in a mu- seum, but they had only jobs for guards. The Museum of Modern Art was not very sympathetic to conscientious objectors. They asked me what I would do if there was a rowdy crowd. They asked: "Are you such a pacifist that you would leave them alone?" My brother Geoffrey knew about Judson Church because he had r~ worked with Al Carmines teaching students who came to New York from midwestern colleges such as Earlham, so I applied to be placed there because Judson was an approved site. Judson had had one ear- lier co. Little did the draft board know that the government was letting me enter a subversive role of resistance. Judson had no money to pay me but they agreed to give me room and board. I had a room on the second floor with the students. Beverly Waite also lived there. Downstairs, below Beverly's room, was Al Carmines's apartment, and to the left at the end of the hall was Ro Lee's. She was the church secretary at the time. Below Ro's apartment was Ed Brewer's. He was the church organist. There was a cook who pro- vided meals, so I had food and a place to live. But I had no spending money. I would do odd painting jobs, and at Christmas the church gave me $50.
    [Show full text]
  • Object Focus: Th E Book Texts for Object Focus the Book Guidebook Contributed by the Guidebook and All Graphic Collateral for Object Focus: the Sarah Fagan, A
    object focus: Th e Book Texts for Object Focus The Book guidebook contributed by The guidebook and all graphic collateral for Object Focus: The Sarah Fagan, A. R. De Filippi, Ella Gold, Gelsey Kurrasch Book was designed and set on a variety of Apple computers Sharon Mizota, Geraldine Ondrizek, Claire Siepser, Barbara using Adobe Indesign CS5. Tetenbaum, and Namita Gupta Wiggers. Trade Gothic (Condensed No. 18), designed in 1948 by Designed by David Roos. Jackson Burke, is used for artist's names, the table of Copyright 2010 Reed College, Museum of Contemporary contents, and the "Object Focus:" portion of the logotype. Craft in partnership with Pacifi c Northwest College of Art and Sharon Mizota. All rights reserved. The red italics throughout are Adobe Caslon Pro, a variant of Object Focus: The Book (November 18, 2010 – February William Caslon's 18th century faces redesigned by Carol 26, 2011) organized by Museum of Contemporary Craft in Twombly from Caslon's specimen sheets. partnership with Pacifi c Northwest College of Art, Portland, OR. Curated by Geraldine Ondrizek, Reed College and The body of the guidebooks, object labels, wall labels and Namita Gupta Wiggers, MoCC in collaboration with Barbara introductory text is set in Scala Sans, designed by Martin Tetenbaum, Oregon College of Art and Craft. Majoor in 1993. This guidebook was printed on Wausau Color Copy 98, a 32# bright-white, extra-smooth digital paper. The cover is Strathmore cold-press 140# watercolor paper. Printing was done on a Konica Minolta BizHub C280 laser printer. The guidebooks were bound at Publication Studios, Portland, Oregon.
    [Show full text]
  • Hannah Wilke
    HANNAH WILKE Born: New York, NY 1940 Died: Houston, TX 1993 SELECTED SOLO EXHIBITIONS 2019 Ronald Feldman Gallery, New York, NY, Force of Nature, September – October. Temple Contemporary, Tyler School of Art, Temple University, Philadelphia, PA, Hannah Wilke: Sculpture in the Landscape, April 25 – July 12. (catalogue) 2018 Alison Jacques Gallery, London, United Kingdom, Hannah Wilke, September 27 – December 21. 2014 Alison Jacques Gallery, London, United Kingdom, Hannah Wilke: Scultpure 1960’s – 80’s, April 24 – May 29. 2012 Gallery Paule Anglim, San Francisco, CA, Hannah Wilke, April 4 – April 28. 2011 Alison Jacques Gallery, London, United Kingdom, Hannah Wilke: Selected Work from the ‘60’s & ‘70s, June 10 – July 9. 2010 Ronald Feldman Fine Arts, New York, NY, Early Drawings, September 11 – October 30. Alison Jacques Gallery, London, United Kingdom, Elected Affinities, June 4 – August 14. 2008 Neuberger Museum of Art, Purchase, NY, Hannah Wilke: Gestures, October 3 – January 4, 2009. 2007 Ronald Feldman Fine Arts, New York, Intra-Venus Tapes 1990 –1993, September 8 – October 13. Alison Jacques Gallery, London, England, Hannah Wilke, September 6 – October 6. 2006 Artium–Centro Museo Vasco de Arte Contemporaneo, Vitoria-Gasteiz, Spain, Exchange Values, October 4 – January 7, 2007. Ronald Feldman Fine Arts at the Armory, New York, NY, Hannah Wilke, March 9 – March 13. Solway Jones, Los Angeles, CA, Hannah Wilke: Advertisement for Living. 2005 Mary Porter Sesnon Art Gallery, Santa Cruz, CA, The Rhetoric of the Pose: Rethinking Hannah Wilke, October 5 – December 3. 2004 Solway Jones, Los Angeles, California, Hannah Wilke: Selected Work 1960 - 1992, January 10 – February 21.
    [Show full text]
  • EUROPE, SUMMER 9 8 0: on the Road With
    VOLUME 3, NUMBER 4 SUMMER 1980 EUROPE, SUMMER 98 0:on the road with jab NEW YORK: 30 May - 2 June The heat was unbearable in New York (mostly the humidi- ty), but the stopover was well worth it not only to see Picas- so, but also to attend the Nevelson opening at the Whitney just hours after I arrived. It was a sterling event, and Nevel- son looked young, sophisticated, and queenly. The work spoke for itself, although I preferred the black pieces so dramatically lit to the white or gold pieces. Luckily, Felipe Ehrenberg and Lourdes Grobet were in town and by chance we met at Franklin Furnace to listen to David Antin talking. After that we saw alot of each other, and I can announce that Beau Geste Press will re- surrect in Mexico Citv*. vew soon. Even got to meet an old school chum I haven't seen in stepped on the plane. A census-taker asked questions about over 20 years over drinks at the Four Seasons, and then how I got to the airport, why I took that flight, etc. It a performance by Pauline Oliveros at the Kitchen. was to be an omen for the return flight as well. The next day I explored as many galleries as I could before stopping off at Mythology, a delightful and GENEVA charming shop which sells anything and everything from rubber stamps to kites, and artists' books as well. The air was crisp and fresh at 6:30 a.m. The airport literally It's at 370 Columbus Avenue.
    [Show full text]